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The Oscar of Her Majesty

No Facebook, We're British. The 83. edition of the Oscars has reserved special surprises, more or less confirming the predictions of the vigil. And so the King's speech , glossy historical reconstruction of public speaking on the difficulties of His Majesty King George VI of England, takes home the statuettes most important those for best film, director, lead actor and original screenplay.

announced a verdict, then, but that leaves a little 'bad taste in mouth movie fans overseas that we were hoping for a prize list is very different and more respectful of our 'tastes' the West.
clear: not that King's speech is a bad film, far from it. But it is a film that owes its appeal only to the performances of the leading actors: the rest is the classic 'film from Oscar' is designed specifically to win: great packaging, leccatissimo conventional, politically correct and pandering to the right point. All ingredients are easily breached in the jury of the Academy has always been oriented towards conservatism and a more reluctant to reward the most innovative works and disturbing. A jury that has its own merits as well as celebrated film Tom Hooper (himself unexpectedly rewarded for directing, very flat and tremors).

Sorry, though, that the expense was The Social Netwok , ruthless portrait of contemporary society signed David Fincher, which takes as its pretext the 'genesis' of Facebook to bring us to a cynical and hard pamphlet on the disintegration of values moral in the era of 2.0. The Social Network for us is the most beautiful and important film of this millennium, and probably will remain so for many years to come: a film 'landmark' in the literal sense, able to keep us in suspense throughout its duration, as a thriller, and capable of making us cringe and think about our condition when finished. The three captured stauette ( Best Adapted Screenplay, Editing and soundtrack) are just a 'sweetener' that does not do justice to the greatness of this film. All

also required on the front of the cast: Colin Firth won hands down the Oscar for best player, while Natalie Portman triumphed among the actresses. Two victories largely 'announced' but this time, well deserved. Beautiful especially the triumph of Portman, radiant with his belly on the expectant mom and almost 'sorry' to have beaten four colleagues of great skill: Annette Bening, Nicole Kidman, Michelle Williams and Jennifer Lawrence . This year the women's competition was the highest level, and each of these actresses, without rhetoric, could be awarded without anyone storcesse the nose (unlike last year when, among thousands of controversy, was awarded Sandra Bullock) . Among the non-actors instead The Fighter triumphs, yet another story of boxing brought to the big screen by David O. Russell , which sees Christian Bale be rewarded (it was now) that Melissa Leo.

the rest, make news in the four awards in technical categories Inception (picture, sound, visual and sound effects ) in partial compensation of the 'stigma' against Academy dell'incompreso Christopher Nolan. Discounts also awards Toy Story 3 as best animated film and best song, and Alice in Wonderland statues in for costumes and set design . Victory for Danish Suzanne Bier in the category of foreign films with his In a better world. And finally a curiosity: the seventh victory (!) Career in the make-up artist Rick Baker , now a 'myth' for the Academy Awards. This time winner thanks to the make-up of Wolfman.
See you next year!

CLICK HERE FOR THE COMPLETE LIST OF WINNERS:

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few more hours ...

now less than forty-eight hours of opening the envelopes and the 'Oscar fever ' rooms. It 's no point in making the snobbish indifference: Anyone passionate about film can not fail to throw their eyes to what will happen next Sunday in the Kodak Theatre in Los Angeles. Because like it or not the film can not help but Hollywood and the Oscars are the party that celebrates Hollywood itself: an anniversary garish, pachyderm, kitsch, outdated as you like but always indicative of trends on fashion and film of the moment. Why do not you forget that the Oscars are the rewards of industry, and what comes out of the night of the stars is always an ideal 'thermometer' to test its creative and commercial studios. And this year more so the competition is indicative of the state of health of the majors, because they challenge as well as two films in the struggle between them, two diametrically opposed ways of making films that evoke different reactions in viewers and interests.
But then we see, in detail, who will star in the Oscar 2010. Try, as always, play in the predictions and the applications which I enjoy very much (Yes. .. everyone has fun as possible).
Let's see then:

BEST FILM

As mentioned, two totally different concepts and the antithesis of filmmaking. On the basis of applications received, it is clear that King's speech is the number one favorite. Both the number of nominations obtained (twelve) for the type of film. Tom Hooper's film fact is, on paper, the classic product made especially to win the statuette, is politically correct, glossy, icy, packed extra luxury and allows the extraordinary 'tests players': all of the Colin Firth , which this year is quite determined to grab that prize by a whisker sfuggitogli the past year. Above is a British film, and we know that across the Channel are masters in producing silisticamente works perfect (but often quite low in content) that much like the 'mature' jurors Academy. Think Shakespeare in Love, Sense and Sensibility, Howards End, Atonement ...

Sorry, though, that the cost is having to make a film intended to rimanese imprinted in people's heads for many years to come. The real Kane the present century, and certainly the bloodiest and true fresco of contemporary society. I'm talking, of course, of The Social Network , for which the undersigned is not ashamed of doing some cheering a shameless plug: David Fincher's film is the best film of the beginning of this millennium, and who knows how many years it will be again. Work 'momentous' (in the strict sense of the word), which shows us' (in) evolution of the human and social relationships and social skills through the invention of what is considered the most influential (and profitable!) Of recent years. And to which this blog has devoted plenty of space (see here and here ). Of course, it will be difficult to convince 'fogies' Academy of the scope of this title, considering that it is mostly elderly members and little reluctant to films 'innovative' and investigation. But often we enter Oscar pope and cardinal exits (see Avatar the last year), and then the hope is the last to die. Very few chanche instead for other titles in the race to have increased to ten the number of nominees to the most coveted statuette has not been revealed (for now) quality assurance: the only true outsider might be possible coena The Grit (nice and 'classic' as I like the Americans, plus shot of a pair of filmmakers who always falls under the 'preferences' of the jurors). For others, really, just crumbs.

WIN ': THE SPEECH OF THE KING

MY FAVORITE: THE SOCIAL NETWORK


BEST DIRECTOR
Nobody can take away the award to David Fincher . Otherwise I'm angry! The Social Network is a solid film, masterful, flawless, brilliant. There are certain virtuoso's car and found that no stylistic comparisons with the film patinatissima Tom Hooper (as usual, the other antagonist) pointing at the actor's definitely not on the 'construction' of the scenes. Any other result would be a steal beautiful and good. Pace of Coen Brothers (already amply rewarded in past), David Aronofsky, David O. Russell . We'll see.

WIN ': David Fincher

MY FAVORITE: David Fincher

ACTOR
The winner is already written: Colin Firth, having missed out on the statuette 'last year with A Single Man Tom Ford , is already virtually secure the prize. The bookmakers are not accepted more bets on him. And after all this prize is good: because it is a fair recognition to the career of good British actor, is actually because his performance in The King's speech is 'majestic' (excuse the pun). Besides, in a year where, strangely, there is not much competition: little more than 'ornamental' nominations for James Franco, of the 'usual' Javier Bardem , the young Jesse Eisenberg and increasingly gigione Jeff Bridges, winner of 'outgoing'.

WIN ': COLIN FIRTH

MY FAVORITE: COLIN FIRTH

BEST ACTRESS

Contrary to what usually happens, this year the women's competition is highest level, much more than their male colleagues. Large uncertainty Natalie Portman, a wonderful interpreter of a bad movie like The Black Swan should do it, but the heavy falls on her 'shadow' of Annette Bening , talented and she never rewarded despite numerous nominations, and also very good at it The boys are doing well . It will be a good fight, and in any case will emerge a worthy winner. But attention also to the other: Michelle Williams has impressed in Blue Valentine, while Nicole Kidman (Rabbit Hole) is now un'habituè the Kodak Theatre. Although in the end the best of all is the young (and tough) Jennifer Lawrence , The great protagonist of a cold winter , independent film and hard, light years away from the logic of Hollywood. It will not win, but be assured that it affects our speech.

WIN ': NATALIE PORTMAN

my favorite: NATALIE PORTMAN

ACTOR
As always, great uncertainty. Christian Bale is one of my favorite actors: I loved The Prestige and The Dark Knight, and now with The fighter could get to the statue. But if the king's speech were stealing all the prizes (as I suspect) Geoffrey Rush here that certainly would benefit domino-effect. mind you it would be a worthy winner. Already awarded with the OSCE Shine, is also perfect in the role of speech therapist trusted of King George, where he keeps his head well to the 'predestined' Colin Firth (see above).

WIN ': GEOFFREY RUSH

my favorite: CHRISTIAN BALE

ACTRESS

already seen Frozen River, Melissa Leo is popular interpreter of a film is not as memorable as The fighter . Could you check it though honestly I doubt that a movie like The Grit , great western (genre beloved by Americans, and then the jurors dell'Acedemy, anzianotti and 'nostalgic') remains empty-handed. So here is the possible looming victory of the young Hailee Steinfeld (just fourteen years old), energetic and pugnacious in the film signed by Coen, and that can not disappear in the presence of 'superstars' like Jeff Bridges and Matt Damon. Y'know what? I point to her ...

WIN ': Hailee STEINFELD

my favorite: Hailee STEINFELD

BEST SCREENPLAY ORIGINAL
The screenplay is the category which usually are awarded the most original ideas and 'courageous' year, and where the jurors Academy (often with a guilty conscience) took refuge to give a sop to those works 'should' be awarded but are often 'politically incorrect' or too far away from Hollywood royalty to aspire to the goal of best film. A premium, in short, often assigned the banner of 'I would but I can not', and that have a history of illustrious winners.

In fact, this year among the nominees for best script we find the pair Lisa Cholodenko-Stuart Blumberg , competing with the 'scorrettissimo' The boys are doing well and, above all, Christopher Nolan with Inception . Needless to say that his screenplay is the most beautiful ones in the race, without a doubt. Inception is a film that, in truth, it touched my heart, in that it is too cold and 'brain' for my tastes, but work on the screenplay by the talented director in London is superb. Nolan, however, is not too much loved by the Academy, perhaps because of its (too?) Awareness of being good, or maybe because he never bowed to the logic of power Hollywood. Fattostà after the sensational exclusion from the quintet of the best directors, the jurors could preferigli convenzionalissima the screenplay king's speech, especially if that effect will occur-cascade mentioned above.
WIN ': THE SPEECH OF THE KING
my favorite: Inception

BEST ORIGINAL SCREENPLAY
Here there is just tender. And if things go wrong for The Social Network , it is frankly impossible for screenplay by Aaron Sorkin not be rewarded: the strength of the film by David Fincher is just the script, fast, engaging, exasperating, cynical, incredibly effective. An extraordinary work that will be remembered for posterity as a true manual script, and that can not be afraid to even the good adaptations of The Grit, Toy Story 3, and 127 hours An icy winter.
MY FAVORITE: THE SOCIAL NETWORK
WIN ': T HE SOCIAL NETWORK

OTHER CATEGORIES
little to say on the other candidates: uncertainty reigns in the best foreign film, always a harbinger of surprises: the favorite seems to be Inarritu's Biutiful , with Javier Bardem , but also with his Suzanne Bier A better world has good chances, and it says a lot of good also de The woman who sings , seen in Venice. For the rest, easy to predict the victory of Toy Story 3 between the cartoons and that of the 'master' for photography Roger Deakins de The Grit, and frankly I do not do predictions for the technical categories and for the music, moltro more details. Finally, little hope for the only Italian bid: Costumes for Antonella Cannarozzi I love have little chance of upsetting the odds favored seeing the 'legendary' Colleen Atwood (winner of two Oscar) with Alice in Wonderland .

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The Black Swan (USA, 2010) Darren Aronofsky

one thing one must give credit to Darren Aronofsky : it is a great director of actors, capable of pulling out the best interpreters of their film. It had already happened with Mickey Rourke in The Wrestler and now it's time to Natalie Portman, in this role that flies straight to sail to the Oscars and, despite everything with excellence (we'll see why). With one difference, though: what if Rourke's Randy 'The Ram' Robinson was the role of life in a movie and then openly autobiographical extremely 'heard', the young Israeli-American actress in the past has offered much more significant evidence than The Black Swan (think V for Vendetta , Closer or underestimated My Bluberry Nights ).

That is to say that the merits of the director not stop there. Why I
modest opinion The Black Swan is a very mediocre film, a staggering banality: the story is about Nina, a young ballet dancer whose sole purpose in life is to become the star of the company, hoping to be chosen to interpret the main part of it 'Swan Lake' by Tchaikovsky. To get the party is willing to do anything, even sacrifice his own life, which however is not the best: because of a paranoid and over-protective mother, his life is divided between the stage and his bedroom, ignoring all else: not a boyfriend, no friends, no other interests and is sexually repressed, which does not play in his favor having a gym teacher and womanizer, stubbornly convinced that to play the role of the 'black swan' work has a strong erotic component required by the protagonist (Mah ..). Nina at first appears to be chosen but later when another young student, but much less good technically astute under the sheets, it seems happened there on purpose to blow the party, things inevitably fall ...

The Black Swan is the chronicle of an obsession: to that absolute perfection in dance and in life. Theme rather abused it generates a series of platitudes, all widely stravisti : competitiveness and social climbing in the world of entertainment, envy our neighbor, the degeneration of values \u200b\u200b(only get the part if you go to bed with the 'boss' ... we have not already heard this story?? ?). But so far there is nothing wrong after all, is not that obvious that a film must necessarily also be bad. The problem is that Aronofsky excessively emphasizes the dramatic tones of the film falling into trash TINIEST: To show the mental illness of the protagonist uses a horrific record of bad taste, with special effettacci so tacky as ridiculous, and showed no have neither a sense of proportion nor the depth of soul to represent the discomfort of the girl, and ended up getting exactly the opposite effect: to awaken the indifference (if not hilarity) of the viewer instead of creating tension and awareness of the drama.

All this does not overshadows the proof of the talented Natalie Portman . As we said at the beginning, her performance is remarkable and deserves to win the statuette them more precious: the Portman offers an interpretation 'extreme', unpleasant, almost disturbing: we see the nail-biting, tearing away the skin, scratching to bleed, tormenting his little body resulting from eternal teenager always believable in a movie that otherwise might really ridiculous.
E 'the case to say that it is she who saves (in part) the film. But as I saw the images scroll across the screen I could not ask me, including myself, and if this film had as direct a genius Alfred Hitchcock what would happen?

RATING: * *

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GRINTA IL (USA, 2010) by Ethan and Joel Coen

Beware of misleading the Italian title. We are in Arkansas, circa 1870. America is still a country for old men, and fourteen year old Mattie Ross must use all his extraordinary frown to keep up with rude and ignorant men, without law, nor scruples. And 'her' true grit ' the original title, and certainly not to Roster Cogburn, ruthless bounty hunter and a drunkard who is 'hired' by the girl for you to capture and deliver justice to the murderess of her father. Even from here you understand that this western filmed by the Coen brothers is much less 'classic' of what he wants to look: they are in fact very rare cases of western movies in which the role of women is so important and marked, and not confined to those 'usual' to obbidiente wife or, worse still, a prostitute.

Mattie Ross is a young woman driven by the desire for justice, but in the wild west too often goes hand in hand with a vengeance: the 'small' intends to capture and process the outlaw Tom Chaney, forcing him to a sentence that is no different dall'impiccagione. But he soon realizes that will not be easy to enforce the law in a world dominated by arrogance, ignorance, arrogance and the sound of guns.

One wonders why the Coen have decided to make a western movie, a western 'true', made of landscapes scorched by the sun, dirty uniforms, gunfights and duels. In reality the answer is simple, if not obvious: the western and 'America, it is the essence, history and the heart of this relatively young and multiethnic nation. And no wonder, therefore, if the famous pair of directors, who in every film he showed us a different aspect of the land, decided to become the kind of 'American' par excellence, and reworking it to fit but to their way of making films.

Because there is no doubt that The Grit , despite appearances, is a film 'coena' to all intents and purposes as evidenced by the cynical and mocking irony of the end of the film, the characterization of extreme and caricaturist of the characters (especially that of Cogburn, a pre-Lebowski litteram grotesque and ridiculous, far from the 'original' played by 'mythical' John Wayne), and above all the 'usual' pessimistic vision of a cathartic companies that do not allows no room for reason and rules of coexistence. The evidence of the creeping racism of the film (see the scene dell'impaccagione of the three bands, where the Indian is not given the opportunity to speak) and the obvious comparison with our present time, because of intolerance and progressive loss of values and historical memory: when, forty years after the incident, the 'spinster' Mattie Ross will recover Cogburn find that on the trail of the survivors of the 'legendary' epic are now reduced to freaks who go around the country tell, as in a circus, enterprises of the past. And how, again, not recognizing the 'rude' alliance Cogburn and the ranger LeBoeuf, solidarity and respect (not necessarily the estimate) among individuals with completely different character and ideals, but ready to come meet in times of need, clearly exasperated criticism of the individualism of today's world.

In any event, without being obliged to take some respects, it must be said that The Grit is a wonderful genre, brilliantly played by (almost) all actors (Matt Damon on , grease, hair and we imbolsito many reservations ...), enhanced by a flawless package and class. Of course, those who love the Coen will find that their style is, paradoxically, the only weak point of the film: those who see The Grit will not find much except what you expect from a film like this. But it's only a venial sin for a great film, engaging, heartfelt and beautifully 'epic'. Avercene.

RATING: * * * *

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A cold winter (USA, 2010) by Debra Granik

A tip for real film buffs: among the multiple outputs of these weeks do not miss A cold winter, the second film by director Debra Granik and winner of numerous awards, not least of which is coupled Best Film - Best Actress last Torino Film Festival, where he literally charmed critics and audiences. A fiercely independent film, light years away from the film studios and able to awaken the soul wild, adventurous and free a continent and a grim legendary time.


A cold winter is a modern day western, which has as its heroine a beautiful girl even twenty of which he is all too easy to predict a great future: Jennifer Lawrence is spectacular in taking charge of the entire film and give us a ' interpretation worthy of a star. His Ree, seventeen sharp and resolute, the capacities made harsh by bad family, is one of those characters that do not run the risk of forgetting: his blue eyes, the fierce determination, the words rare and mutilated, anger stored in the many years of suffering they rise to the role of absolute star of this film beautiful and tough, made of solitude, panoramic views, stingy and inhospitable land, family ties made impossible by the harshness of daily life. By a curious coincidence, An icy winter arrives in theaters on the same days of the Determination , western 'vintage' and signed by the Coen brothers just happened (another coincidence?), Also starring a young girl and resolute as if to emphasize continuity with the short history of a people who now, for some time, withdrew its heroes.

VOTE: * * * *

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decorated with fresh cream and wafer flowers and sugar,
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is the 'TAX ON CINEMA': funding for the Entertainment taxpayers pay them.

you remember the famous scene of we can do is cry with Benigni and Troisi that they come across a zealous border guard, to move each their own pace, claims to recover the 'gabelle' of 'a florin' ? Here, I would say that this sequence was never more prophetic than what our government has reserved for movie fans from next summer. For those who still do not know, in fact, note that the Executive, through an amendment to the decree 'milleproroghe', stated that from the next one. July (for the duration of two and a half years) the cost of movie tickets will increase by an arbitrarily € : to allow this disaster to the state coffers to replenish the funds available to the Department of Culture and Entertainment, the subject of indiscriminate cut drastically in the last two budget laws.


Revenge is a dish that is eaten cold. This must have thought the minister of culture in- Sandro Bondi after rejecting a parliamentary no-confidence motion tabled by the opposition, who asked him to resign after the collapse of the sites of Pompeii: the Grand Chamberlain of Arcore held its revenge in style, harking back with interest to the old-communist rabble, in his opinion, dared to contradict the management of ministerial funds over the past two years ... 'I thought to have cut resources to the show? So from now on the money you put them there! ' . This, in short, the 'recipe' government to respond to repeated complaints of those 'troublemakers' who still insist on making films in our country.

Irony aside, I do not think there is a need to further explain the shameful and unfortunate decision taken by the Prime Minister's office, once again disparaging to the world of culture and dignity of citizens. Despite the slogans in effect, in fact, this is yet another tax introduced by the Berlusconi government that is a burden on the pockets of taxpayers in a difficult period as what we are experiencing, and that proves once again that there is a clear desire on the part of people living in the halls of power of 'barbaric' and anesthetize the people now addicted to practically everything.

It does not take long to realize that the 'tax on cinema' will have a devastating effect on the industry, just at a time when Italian cinema was experiencing its golden period, with cash from dizzy and dominates the charts not seen for decades. Increase the price of the ticket means three things:
a) discourage people to go into theaters. Just when, as mentioned, there were clear signs of recovery. This obviously all at the expense of the poorest. Demagoguery? Well, I only say that this' incli 'ticket prices will come to be around € 90-10 (12-13 for movies in 3D), thus helping to topple the status that he wanted the film industry only entertainment' popular 'and within reach of every budget (considering the astronomical costs of theater, opera and pop music).
b) permanently kill the small benefit of multiplex cinemas. At this contributes greatly increase the unjust arbitrary price: if the large structures will lead to an increase in the average, a rise of 12-13% in the halls of this province will be up to 25% (at a ticket price of € 4 ). To Not to mention the usual, hateful exception the increase does not apply to the parish hall , witnessing the miserable subjection of this government to ecclesiastical power ... So why not the ARCI? And Cineforum? And the thousands of art-house lounges scattered throughout Italy?
c) make a decisive contribution to increased piracy. Burn copies, download from the Internet, streaming movies 'visions' directly via the web. That and who knows what else there is to be expected after this 'tricksy': also because, in the name of this tax-robbery, there is now a lot more people will feel 'empowered' to watch movies illegally.

But beyond of all this, the thing that most angers you see the total insensitivity of this ruling class to all that answers to the name of culture, in the name of an established design, as mentioned above. The year of celebrations for the Unification of Italy, but if we look around us, all that remains of a once rich nation and teacher in the Arts and ingenuity, I can not help but quote a phrase Michael Moore's quite fitting for this unfortunate affair
But as we have reduced this country?

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BURLESQUE (USA, 2010) Steve Antin

There is musical and musical. Just last night I went to see the stage version of Flashdance and I enjoyed it a lot: producing a young, vibrant, fresh, with a close-knit cast, well-stocked. No name is known, but so much energy and rhythm that are not totally regret the original film.

What has this to do with Burlesque , I ask? Simple. As I said, there is musical and musical: Flashdance is proof that you can deal with 'issues' serious and important (unemployment, working-class, youth problems, insecurity) even with a genre seemingly 'frivolous' and less inclined to 'commitment. In short, the musical is a genre in itself, and is absolutely not true that screenplay and background components are 'marginal', in second place with songs and choreography. If there are musicals with these features, are just bad musical.

Here Burlesque is nothing but a bad movie. A film boring, superficial, glossy and quite useless, as well as tremendously banal: it is not sufficient to put the camera in front of dozens of dancers in skimpy clothes to attract the attention of the viewer, so as not to tire you can not always see in the sculettare buxom protagonist in each scene and show their 'thank you' without the slightest form of passion and conviction in what he is doing.
Burlesque film is a flatness and a dreadful mediocrity: a saccharine story and laughable (yet another 'episode' of youngsters and young without money, Cinderella story, which leaves both ways to the cities in search of glory. ..), 'enriched' (so to speak) the contribution of two stars who read well below the minimum wage, and essentially to boost their respective careers. A freak

noisy and empty, soporific and unnerving, that is offensive and ridiculous to compare Cabaret, in which the film director Steve Antin videoclipparo says he 'inspired' here, you know that between Bob Fosse's masterpiece, and this no nonsense the same difference, in terms of aesthetics, which is between Anna and Monica Bellucci Mazzamauro. Volgarotto comparison, but in line with the level of the film.

RATING: *

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text of the flyer

In Italy the majority of women working outside or inside the house, create wealth, get a job (and one in two can not do it), study, sacrifices himself to succeed in the profession you have chosen, you ... takes care of re ... lations emotional and family, taking care of children, husbands, aging parents.


Many are engaged in public life, in all parties, unions, businesses, associations and volunteer work in order to make more civil, richer and welcoming society in which they live. Account and have self-respect, freedom and the dignity of women obtained with the help of many generations of women - it should be noted in
150th unit of Italy - have built democratic nation.

This rich and varied experience of life is erased from repeated indecent representation of women paraded naked as a sexual object of exchange offered by newspapers, television, advertising. And this is no longer tolerable.

A widespread culture offers to the younger generation to achieve goals by offering easy money and glittering beauty and intelligence to the powers that be, willing to turn to exchange them with resources and public roles.

This mentality and behavior that are polluting the resulting social cohesion and the image which should be reflected in the civic consciousness, ethics and religion of the nation.

Thus, almost without realizing it, we passed the threshold of decency.

The model of relationship between men and women, shown off by one of the highest offices of State, profoundly affects lifestyles and the national culture, legitimizing conduct prejudicial to the dignity of women, and institutions.

Who wants to continue to remain silent, argue, justify, reduced to private affairs of this state of affairs, assuming the heavy responsibility to do so, even before the international community.

We ask all women, without distinction, to defend the value of them, of our dignity and we say to men: if not now, when? is the time to show friendship towards women.

Add a caption text of the leaflet "If not now, when?

In Italy the majority of women work outside or inside the house, create wealth, get a job (and one in two can not do it), study, sacrifices himself to succeed in the profession you have chosen, you ... lations takes care of re ... emotional and family, taking care of children, husbands, aging parents.

Many are engaged in public life, in all parties, unions, businesses, associations and volunteer work in order to make more civilized, more rich and welcoming society in which they live. Account and have self-respect, freedom and the dignity of women obtained with the help of many generations of women - it should be noted in
150th unit of Italy - have built democratic nation.

This rich and varied experience of life is erased from repeated indecent representation of women paraded naked as a sexual object of exchange, offer from newspapers, television, advertising. And this is no longer tolerable.

A widespread culture offers to the younger generations to achieve goals by offering easy money and glittering beauty and intelligence to the powers that be, willing to turn to exchange them with resources and public roles.

This mentality and behavior that are polluting the resulting social cohesion and the image which should be reflected in the civic consciousness, ethics and religion of the nation.

Thus, almost without realizing it, we passed the threshold of decency.

The model of relationship between men and women, shown off by one of the highest offices of state, a profound impact in lifestyles and the national culture, legitimizing conduct prejudicial to the dignity of women, and institutions.

Who wants to remain silent, argue, justify, reduced to private affairs of this state of affairs, assuming the heavy responsibility to do so, even before the international community.

We ask all women, without distinction, to defend the value of them, of our dignity and we say to men: if not now, when? is the time to show friendship towards women ...

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PRESS THE WALK WALK WALK A MXP

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The walk yesterday Jimmy Pasin, Walter Girardi and other friends in the area to Malpensa, was an act of witness to draw attention to the enlargement of Malpensa.
The deafening silence surrounding the issue is significant as to nationality, but above all the institutions, the problem is not the slightest interest.
Where are the mayors, the Province, the Region, the Government? It seems that our territory no longer of interest to anyone, perhaps all too busy to stay firmly in place and with the fear of stepping on someone's feet.
Nobody is bothering Sea is deciding what to do in the name of modernity but sacrosanct in Italy has often the features of easy choices and effortlessly. Much easier to carry out major infrastructure waste of public money, rather than optimize resources, and budgets. As the advertisement says "like to win easy" and then you know "there is also great in the small". Thus achieving a third runway to increase air traffic, then even if this does not happen or if this increase could be achieved with the existing structure does not matter! So always pay the taxpayers ... Where is the defensive
least economic of the area? While
hotels of neighboring towns close inaugurated a mega hotel inside the airport, a Another building of questionable architectural choice because they have achieved in 2011 the volume of concrete and glass, without a solar panel, without proper attention to environmental impact, without the minimum requirements of eco-compatibility that today should have a building of this kind is to say the least anachronistic. Plus businesses in the area who worked there are concerned to get the payments.
The position of those who moved in this past year to raise public awareness, is that they want a sustainable regional development, a development that takes into consideration the real carrying capacity of an area already heavily populated and the problems of traffic car we all know. Add to this the pollution data we are discussing these days and that will be published in Casorate Sempione February 21, there would be reflecting.
And where those who minister to us now? Where are the Northern League politicians who for years have served up the defense, the traditions, the Padania? Ahhh
are already in Rome to defend their interests and to support a government that is becoming the laughingstock of the world ...

Mainstream Movies With Domination

ON THE DEATH OF MARY SCHNEIDER, AND THE WEIGHT OF (SOME) WORDS ...

I made a great impression, and of course very sad to learn of the death of Maria Schneider . The chronicles tell us that she let go, he had given up on life long before it was attacked by the disease. A sad fate and somehow announced that it has taken away a woman of 58 years that life has given fame, but not happiness.


Maria Schneider has danced for one summer, that the 1972 film, a role, a conviction. Last Tango in Paris at the same time he made his fortune and his damnation. In what has become today the world of entertainment, some stars and starlets would make false papers for two decades to become the sexiest woman on the planet. Schneider was the almost despite himself, playing one of the most controversial film 'Scandal' of film history and eventually be overtaken by the role that 'damn'.
not be astonished. Many actors have been left 'slaves' of a character, who has always put up their careers: think only Anthony Perkins (Psycho), Malcolm McDowell (Clockwork Orange) or Bela Lugosi (Dracula), whose interpretations were also serious consequences on their privacy.

But Mary Schneider's speech was different. She, naive and disenchanted twenty, he realized not reading the script for what would be his role in 'Last Tango'. She accepted the part with the unconscious and the boldness of those who want to forge ahead in his career, and certainly did not imagine the carnage and moral media that was reserved for the critically received and bigoted '70s. And not only that ... the film was declared blasphemous by the courts in much of the world, in Italy it was even condemned 'the stake', as in the times of the Holy Inquisition. And Schneider was regarded as an evil witch, by point and mark as a negative example, became the stone of the scandal around the globe.

Words are stones, "said Carlo Levi . And I think that the death of Maria Schneider should make us reflect once more on how to go about the weight and use that when you give moral judgments about people. With us the poor Mia Martini is dead for this, and many others still suffer from this absurd media pillory. And the rule should apply to anyone who writes, from the most acclaimed critics until the last of the amateurs like myself. In a world of mass-dominated media, where thanks to the web news in few seconds around the world, the use of the word is weighed and doubly planned, because none of us can have the life of a person, even with a pen (or keyboard) in hand.